Applause -- Six, January 7-11, 2026

APPLAUSE VOLUME XXXVI NUMBER 3 JAN – FEB 2026

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BY JANICE SINDEN

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VO LU M E X X XV I • N U M B E R 3 • JA N – F E B 2 0 2 6

EDITOR: Suzanne Yoe DESIGN DIRECTOR: Kyle Malone DESIGNER: Paul Koob CONTRIBUTING DESIGNERS: Lucas Kreitler, Kyle Malone CONTRIBUTING WRITERS: Misha Berson, Lisa Bornstein, Lisa Kennedy, Madison Stout, Collin Van Son

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Applause is published six times a year by Denver Center for the Performing Arts in conjunction with The Publishing House, Westminster, CO. All rights reserved.

Reproduction in whole or in part without written permission is prohibited. Call 303.893.4000 regarding editorial content.

Welcome to the theatre!

This is one of the most engaging times of our year when we host the Colorado New Play Summit. Now in its 20th year, this festival features readings of four works in development plus full productions of two world premieres. Over February 14 and 15, theatre aficionados will enjoy:

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Readings: Lemuria by Bonnie Antosh, Influent by Isaac Gómez, You Should Be So Lucky by Alyssa Haddad-Chin, and The Myth of the Two Marcos by Tony Meneses

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World Premieres: Godspeed by Terence Anthony and Cowboys and East Indians by Nina McConigley and Matthew Spangler Since its founding in 2005, the Summit has offered 95 readings, of which 47 have gone on to full production including The Book of Will, American Mariachi, and The Reservoir. These readings provide a pipeline of new works that contribute to the future of the American theatre.

Also on our stages are an all-new tour of Meredith Willson’s The Music Man, the return of Mark Twain Tonight! featuring Richard Thomas in the iconic role, and the book-turnedmovie, Water for Elephants, brought to life through stunning puppetry and stage effects.

Your presence demonstrates a commitment to sustain this incredible artform. Similarly, Denver voters gave resounding approval for the Vibrant Denver Bond, enabling us to provide a safer, more welcoming theatre experience. Thank you for your ongoing support that makes this work possible.

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The Denver Center for the Performing Arts honors and acknowledges that it resides on the traditional and unceded territories of the Ute, Cheyenne, and Arapaho Peoples. We also recognize the 48 contemporary Indigenous Tribes and Nations who have historically called Colorado home.

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IN THIS ISSUE Mark Twain Tonight!.....................pg 11 Water for Elephants....................pg 14 The Music Man ...............................pg 17

FOR A COMPLETE LIST OF UPCOMING SHOWS:

Cowboys and East Indians......pg 18 SIX .......................................................pg 20 4

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BOARD OF TRUSTEES Ruth Krebs, Chair Hassan Salem, Immediate Past Chair Jerome Davis, Vice Chair David Jacques Farahi, Secretary/Treasurer Nicole Ament Marco D. Chayet Yosh Eisbart Christopher Hayes Elizabeth Hioe Deb Kelly Robert Kenney Kevin Kilstrom Lynn McDonald Susan Fox Pinkowitz Manny Rodriguez Alan Salazar Richard M. Sapkin Martin Semple William Dean Singleton Sylvia Young

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The performing arts have a unique way of connecting us. They lift spirits, spark joy and remind us that feeling whole involves more than physical health. Music, movement and storytelling can ease loneliness, create moments of comfort and help people feel seen - the same kind of healing presence our teams bring to the bedside through music therapy and whole-person care. At AdventHealth, we celebrate and support the arts because they nurture the mind, strengthen the spirit and enrich the lives of the communities we’re honored to serve.

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No long programs.

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Just pure celebration.

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MORE INFORMATION: denvercenter.org/special-events Megan Stewart • mstewart@dcpa.org • 303.446.4821

NEWMAN CENTER PRESENTS 2025-2026 SEASON Chris Thile

La Santa Cecilia

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Meshell Ndegeocello:

Ephrat Asherie Dance with Arturo O’Farrill: Shadow Cities

No More Water - The Gospel of James Baldwin Friday, 2.13.2026

Mandy Patinkin in Concert with Adam Ben-David on Piano

Thursday 2.19.2026

Cirque Kalabanté: Afrique en Cirque

Friday 2.27.2026

Thursday 3.12.2026

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Ranky Tanky with very special guest Ms. Lisa Fischer

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Tuesday 4.7.2026

All performances will be at 7:30 p.m. unless otherwise noted

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DRAMATIC LEARNING: WHERE CREATIVITY MEETS CURRICULUM By Madison Stout

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What if learning math felt like rehearsing a dance? What if science came alive through movement and storytelling? At the Denver Center for the Performing Arts, this isn’t hypothetical; it’s the foundation of Dramatic Learning, a program that integrates theatre into core subjects.

For nearly 30 years, the DCPA has partnered with Colorado educators to bring arts integration into classrooms, helping students become better learners and better humans. Whether it’s acting out the digestive system in a biology unit or using costume renderings to explore character development in literature, the program helps students connect with academic content through creativity, collaboration, and kinesthetic learning.

“All students deserve to feel seen in their learning,” says Allison Watrous, Executive Director of DCPA Education & Community Engagement. “Arts integration honors different learning styles and invites students to be agents in their own learning.”

Arts integration isn’t just about making learning fun; it’s about making it effective. In Denver classrooms, DCPA teaching artists collaborate with educators to co-teach lessons that align with state standards. From Shakespeare and stage combat to science-based improvisation, students experience learning with their minds and bodies.

And the results speak for themselves. The New Victory SPARK study, which tracked students over three years, found that performing arts education led to:

• 50% increase in creative thinking through improvisation exercises

• 55% growth in teamwork skills, with students choosing larger, more diverse teams

• 10% rise in hope for the future, compared to a 5% decline in the control group

• 20% greater interest in the performing arts, especially

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among students from under-resourced schools

These findings reinforce what educators at the DCPA have known for a long time: the arts don’t just enrich education, they transform it.

Together, arts integration makes core curriculums more dynamic, memorable, and meaningful while equipping students with both academic mastery and 21st-century skills. It also improves academic performance. Students involved in arts programs show enhanced memory, focus, and literacy skills.

And perhaps most importantly, they’re more engaged. “When students are doing the work — creating, performing, reflecting — they’re not just learning facts,” Watrous says. “They’re learning how to think, feel, and connect.

“If you’re a teacher, or know one, who wants to bring creativity into the classroom, reach out,” Watrous encourages. “And if you have a young person in your life, take them to the theater. Go on an artist date.

Spark their imagination.”

To learn more about Dramatic Learning or bring it to your school, reach out to education@dcpa.org.

BECAUSE ARTS EDUCATION ISN’T EXTRA — IT’S ESSENTIAL.

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LAUGHTER TEARS HAIRSPRAY

April 9 - 19, 2026

Before the iconic 1989 film broke box office records nationwide, Louisiana salon owner Truvy first set up shop on the stage. The colorful cast of regulars and employees that frequent her establishment include a mother-daughter duo planning a wedding, a woman who’s “been in a bad mood for 40 years,” and a mysterious newcomer.

Through laughter, tears, and a thick fog of hairspray, these women face trials and triumphs armed with their greatest strength: each other.

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GODSPEED: A WESTERN REWRITTEN

BY L I S A K E N N E DY

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“I always loved westerns as a kid — the showdowns, the gunfights, all that,” playwright Terence Anthony said during a video conversation. His own contribution to the genre, Godspeed — a rousing saga about a formerly enslaved woman on a mission in post-Civil War Texas — is having its world premiere at the Denver Center Theatre Company.

In the popular imagination, the Western has made a home in the theater. The movie theater, that is.

After all, film captures the big sky we westerners dwell beneath. It depicts a vastness that humbles the heart but has also fueled ravenous ambitions. Cinema spent much of its first 100 years making manifest onscreen the designs of Manifest Destiny. Yet, in more recent decades it’s offered up revisions of those earlier stories — for good reason.

This is something the playwright gleaned over time. “At a certain point, I realized, ‘Oh wait a minute, why are all the Indians the bad guys all the time? What’s going on?’”

He began paying a different sort of attention.

Anthony reels off a few of his favorite westerns, including two that fall under the revisionist rubric and feature black actors with storylines: 1985’s Silverado with Danny Glover and Lynn Whitfield as siblings and homesteaders, and John Ford’s 1960 drama Sergeant Rutledge, about the eponymous army man (portrayed by Woody Strode) being tried for the sexual assault and murder of a white woman.

“The genre of the Western is just such an amazing vehicle for talking about all the things American. All the

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things that led to where we’re at today,” Anthony said, joined by the play’s director, Delicia Turner Sonnenberg.

“You can really trace back to how the west was ‘won,’ and the histories that were covered up. That a quarter or more cowboys were black, but we never saw that in books or films.”

The black quasi-cowboy protagonist of Anthony’s creation is actually a formerly enslaved woman named Anna who rechristened herself Godspeed. The play is set in Texas, shortly after the Civil War’s end. But it is no Juneteenth celebration. Texas is roiling. The once enslaved are unsure of where to go, how to begin negotiating their new lives: Is there a way to reset economically their relationship to their enslavers?

As for Godspeed, she has retribution in mind. For that dark if righteous payback, she totes a gun with one bullet.

Godspeed is one of the two plays getting its world premiere having had a well-received staged reading during the 2024 Colorado New Play Summit. (The other, Cowboys and East Indians, also wrestles with the ethos of the West.) Its settling in the Kilstrom is cause for applause but also curiosity. How does a genre so doggedly cinematic yield to the intimacy of the theater? Indeed, the script seems to call for cinematic gestures, like intertitles and maps charting Godspeed’s journey from Mexico up through Texas toward a reckoning. It’s easy to imagine the creative team defaulting to visual projections to nudge the storytelling. Cue Sonnenberg.

“Some of the vocabulary of the western — or just the West — is land and sky,” the director said. “I’ve been think-

APPLAUSE • JAN – FEB 2026 • 303.893.4100 • DENVERCENTER.ORG

ing a lot about that. Because we’re in the round instead of a proscenium. All of our theatricality is old school theatricality because it’s just a floor and an audience all around. So, the things that are strong in the play have to be strong in the production, and that is the relationships between the people.”

Sonnenberg is the founder and former artistic director of MOXIE Theatre, a San Diego-based company focused on presenting works by Women+ creatives. “Delicia has told me she usually doesn’t do ‘boy plays,’ so I was very honored that she was interested,” Anthony recalled, smiling.

But then how many plays have a protagonist as ferocious and mysterious as Godspeed? “A person shows up, then we find out it’s a woman, then we find out that she’s changed her name from Anna to Godspeed, and she’s on a journey,” said Sonnenberg. “It grabbed me from the very first scene. And then there’s the dream sequence, right? And then we get a two-person scene and half of it’s in Spanish!” Sonnenberg said that last bit with a hint of marvel.

Because Anthony has paired his thorny hero with — well, in a different era, Peklai Cobos, might have been called “sidekick.” The play’s not having any of that. A Mexican woman of Coahuiltecan descent, she often gives Godspeed as good as she gets — answering, arguing, advising, always in untranslated Spanish. It’s a gesture that will please some and fluster others.

“I think theater is at its best when it’s subversive,” Sonnenberg said about the playwright’s choices. Not just his refusal to translate Peklai’s dialog but his interest in a period of American history in which post-Civil War opportunity was met with the rise of Jim Crow suppression and violence.

At a certain point, I realized, “Oh wait a minute, why are all the Indians the bad guys all the time? What’s going on?”

— TERENCE ANTHONY, PLAYWRIGHT

In navigating the facts and context of the era, the duo found a partner in dramaturg Arminda Thomas. “I am drawn to stories about Reconstruction, and this one is a Reconstruction story in an underexplored setting (South Texas), and with a larger scope than most of those stories, that looks back to the Middle Passage, the annexation of Texas, the Spanish conquest...there’s a lot to dig into!” she wrote in an email.

“Part of what drew me to the play is the ballsiness,” Sonnenberg says.

“I like swagger and it has it. There’s real muscularity in the writing. Like, ‘I’m gonna tell you a story and it’s gonna be good, and here we go!’”

Or, to borrow a phrase, “Giddy up!”

RICHARD THOMAS TAKES ON MARK TWAIN Best known for playing John-Boy Walton in “The Waltons,” Richard Thomas has enjoyed an award-winning career in TV, film, and stage appearing across the nation in Twelve Angry Men and To Kill a Mockingbird. Now — as the only actor authorized to perform Mark Twain Tonight! — he takes on the role of Samuel Clemens made famous by Hal Holbrook.

“When the estate reached out and told me they wanted to run this again and they thought Hal would probably be happy if I did it, I immediately said I would love to,” explained Thomas.

Mark Twain Tonight! offers more than one reflection of public life that will resonate with audiences today. While Holbrook performed the show for more than 50 years, assembling the play from a large cache of Twain’s writings, the material was made available to Thomas to develop his own spin on the piece.

“Actors are intrepid researchers, and Twain is just a bottomless well,” concluded Thomas. “You can just keep drawing good water from it without running dry. I’ve always loved him before in a more general-audience way, but this is giving me a great opportunity to go deep. And he’s a wonderful companion.

He has insights, he makes you laugh, and he makes you think.”

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GODSPEED

MARK TWAIN TONIGHT!

ASL Interpreted and Audio Described performance: Feb 8 at 1:30pm

Includes ASL Interpretation, Audio Description & Open Captioning

JAN 30 – FEB 22 • KILSTROM THEATRE Stay for a post-show discussion: Feb 10 & 17

JAN 31 • BUELL THEATRE

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THE GEOMETRY OF SPECTACLE HOW WATER FOR ELEPHANTS UNLOCKS THE THIRD DIMENSION B Y C O L L I N VA N S O N

Connor Sullivan and the Cast of WATER FOR ELEPHANTS. Photo by Matthew Murphy for MurphyMade.

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Most musicals are two-dimensional. That’s not a put-down; it’s a spatial reality. Stages are two-dimensional surfaces, and the actors who travel them are typically limited to two degrees of freedom: they can move upstage or downstage, stage right or stage left. A notable exception is if the show in question also happens to be a circus. Then the actors are welcome to fly.

From the trapeze to the tightrope, Water for Elephants is emphatically three-dimensional. But accessing what circus designer and co-choreographer Shana Carroll calls “real estate in the air” isn’t just an artistic challenge — it’s also an engineering one.

“It’s a lot of geometry,” says Carroll, describing the network of pulleys, wires, and slings whose sheer complexity occasionally brought rehearsal to a screeching halt. Countless hours were spent troubleshooting and reconfiguring. “We did not make our lives easy,” Carroll admits. “We do things on the stage that are kind of crazy to do, rigging-wise.”

In addition to behind-the-scenes headaches, this complexity delivers some remarkable feats of showmanship. Carroll points to the moment when the cast raises the center pole of the Benzini Brothers’ circus tent; what would normally take 30 minutes of pre-show preparation, the cast accomplishes with real-time choreography.

Much like pitching a big top, choreographing Water for Elephants was a team effort. When Jesse Robb joined the project as a co-choreographer, it marked the start of a collaboration that he and Carroll fondly refer to as their “arranged marriage.”

The two soon found that their experiences working for Cirque du Soleil allowed them to develop a common movement language, one that evolves over the course of the show.

Robb describes the show’s early choreography as “very utilitarian,” a reflection of the intense physical labor that a circus requires of all its members. But as protagonist Jacob Jankowski begins to acclimate to life on the road, the choreography gradually takes on the unabashed spectacle of Depression-era circus. “You get a little bit further into act one,” says Robb, “and you’re looking at very Broadway-esque moments in [‘The Lion Has Got No Teeth’]. And then ‘The Grand Spec’ at the end of act one, the language is very much old-school presentational circus. So the choreographic language changes dramatically throughout the show.”

For Carroll, a former trapeze artist, this combination of 1930s old-school circus and modern-day artistry is a major part of the show’s appeal. As a veteran of several traditional circuses, she enjoys recalling her horseback entrances and the onstage poker games she played against an elephant.

“I love the artsy theatrical circus that I now do,” she says, “but I really have so much reverence for the roots... And marrying them — doing in a traditional context some of the newer contemporary language — is really satisfying for me, because I actually don’t like when it’s so delineated.”

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APPLAUSE • JAN – FEB 2026

The importance of unspoken physical language is a theme that Carroll and Robb return to frequently. And when building out such a language, it helps to have what Carroll calls “that little glossary in your head,” a way to find the right pairings of physical movement with an emotional moment.

Through the risks they entail and the images they create, different circus techniques lend themselves to different metaphors. Aerial taps into freedom and liberation. Ground acrobatics calls to mind community and interdependence. Three-high stacking evokes a sense of victory — or at least it always has to Carroll, who at one point in the process found herself needing to revise her personal glossary.

During the show’s development, director Jessica Stone wanted to employ three-high stacking to depict the practice of red-lighting, in which Benzini employees are hurled from a moving train when their services are no longer required. But to Carroll, the violence of red-lighting clashed with her understanding of the three-high stack as a victorious, uplifting image. Eventually, however, she came to realize that, “oh no, if we make it about danger and about the risk and the stakes, we can change that imagery.”

It’s a lot of geometry. We did not make our lives easy. We do things on the stage that are kind of crazy to do, rigging-wise.

— SHANA CARROLL, CO-CHOREOGRAPHER

This kind of collaboration, cross-pollination, and flexibility is nowhere more evident than in the show’s cast. Most circus performers are specialists in a particular discipline such as tumbling or juggling. But in the case of Water for Elephants, the show’s relatively small cast — there are only seven dedicated circus performers — means that versatility is at a premium. As a result, the artistic team was constantly on the lookout for what Carroll calls “unicorns,” performers who could not only soar on a trapeze but could juggle a knife and tumble as well.

While the Benzini Brothers are fictional, the most successful real-life circus of the 1930s — Ringling Bros. and Barnum & Bailey — is still around today, preparing to kick off a new tour in 2026. For Robb, the enduring appeal of the circus has a simple and personal explanation: “I know my impetus [in becoming an artist] was wanting to run away to Cirque du Soleil when I was 20 years old, and it was the idea of finding a community of like-minded people.”

The way Carroll sees it, the power of circus comes back to mechanics.

“If five people are doing a trick and two people are throwing and one person’s catching, [you can’t ignore] the trust and the fact if one person doesn’t do their job, someone dies. It really is just the most profound way of showing interconnectivity and interdependence.”

NEXT UP FROM BROADWAY

HELL’S KITCHEN Alicia Keys’ Hell’s Kitchen (April 14-26) is not just a musical — it’s a love letter to New York City, adolescence, and the power of finding your voice. Loosely based on Keys’ own teenage years in Manhattan Plaza, the show pulses with the energy of 1990s Hell’s Kitchen, blending R&B, soul, and hip-hop into a theatrical experience that feels both personal and universal.

Critics have called the musical “a rousing delight” (Entertainment Weekly), “a glorious tapestry” (Variety), and “easily the best new musical at the Public since Hamilton” (TheaterMania). But Hell’s Kitchen isn’t just about accolades — it’s about connection. The story of a young woman navigating family, ambition, and identity resonates far beyond the streets of New York. Keys reimagines some of her most iconic songs — “Fallin’,” “Perfect Way to Die,” and “Girl on Fire” among many others — to serve as emotional anchors, offering audiences a fresh lens on familiar hits.

As the show travels the country, it brings with it a message that’s both timely and timeless: that music can be a lifeline, and that every city has its own rhythm worth listening to. Hell’s Kitchen is poised to inspire a new generation of theatergoers — one soulful note at a time.

WATER FOR ELEPHANTS FEB 11 – 22 • BUELL THEATRE

ASL Interpreted, Audio Described, and Open Captioned performance: Feb 22 at 1pm

Kennedy Caughell as “Jersey” and Maya Drake as “Ali” in the North American Tour of Hell’s Kitchen, the hit Broadway musical from Alicia Keys. Photo by Marc J Franklin.

extending your living space into the garden

Landscape Architecture Construction Property Care

www.phaseonelandscapes.com | 303.750.6060 | email@phaseonelandscapes.com

P R E S E N T E D B Y M A R Y E L L E N & DAV I D W R I G H T

JA N. 30 – F E B. 8, 2026

M ARCH 6 – 15, 2026

AL L P ER F OR MANCE S AT THE EL L IE CAUL KINS O PER A H OU SE W I TH LI V E MU S I C FE ATU R I N G THE C OLOR A D O BA L L ET ORC H EST R A

T I C K E T S A T C O L O R A D O B A L L E T. O R G P H OTO S: JENNI F ER G R AC E, LIAM HO GAN , J ESSICA PAYN E, & PAT RICK MIHM B Y R ACHEL N EVILLE

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SEASON SPONSOR

KENNY WAX, WENDY & ANDY BARNES, GEORGE STILES, and KEVIN MCC OLLUM in association with C HICAGO S HAKESPEARE T HEATER

present

by

TOBY MARLOW LUCY MOSS &

with

E mma E lizabeth S mith

N ella C ole

R eese C ameron Scenic Design

Emma Bailey Orchestrations

Tom Curran Technical Supervision

H udson Theatrical Associates

Tour Booking

The Booking Group

Meredith Blair & Kara Gebhart Associate Producer

Sam Levy

K elly D enice T aylor

H ailey A lexis L ewis

A nna H ertel

A lizé C ruz

C arlina P arker

Costume Design

A bigail S parrow

Lighting Design

Gabriella Slade

Sound Design

Tim Deiling

Paul Gatehouse

Associate Director

Music Supervision (U.S.)

Associate Choreographer

Galia Backal

Roberta Duchak Casting

The TRC Company P eter Van Dam, CSA

Eliza Ohman

Music Director

Production Stage Manager

Valerie Maze

Tour Marketing & Publicity Direction

Bond Theatrical

General Management

Theater Matters John E. Gendron

T asia J ungbauer

Jay C arey

Advertising

The Pekoe Group

Company Manager

Stephanie Smith

Executive Producer (U.S.)

Lucas McMahon

Music Supervision

Joe Beighton

Choreography by

Carrie-Anne Ingrouille Directed by

Lucy Moss & Jamie Armitage SIX was originally performed by the Cambridge University Musical Theatre Society. The West End production was first performed on July 11, 2018 at Norwich Playhouse, England and opened at the Arts Theatre, London on January 17, 2019.

SIX received its U.S. premiere at The Yard at Chicago Shakespeare Theater on May 22, 2019, Rick Boynton, Creative Producer; Barbara Gaines, Artistic Director; Criss Henderson, Executive Director.

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CAST

Emma Elizabeth Smith

Nella Cole

Kelly Denice Taylor

Hailey Alexis Lewis

Alizé Cruz

Tasia Jungbauer

Reese Cameron

Anna Hertel

Carlina Parker

Abigail Sparrow

Catherine of Aragon.................................................................................. EMMA ELIZABETH SMITH Anne Boleyn...............................................................................................................................NELLA COLE Jane Seymour................................................................................................... KELLY DENICE TAYLOR Anna of Cleves.................................................................................................... HAILEY ALEXIS LEWIS Katherine Howard.....................................................................................................................ALIZÉ CRUZ Catherine Parr............................................................................................................ TASIA JUNGBAUER ALTERNATES Alternates never substitute for the listed performers unless a specific announcement is made at the time of the appearance.

REESE CAMERON, ANNA HERTEL, CARLINA PARKER, ABIGAIL SPARROW DANCE CAPTAIN CARLINA PARKER AT THIS PERFORMANCE

Scan this QR Code to see the cast at this performance SIX WILL BE PERFORMED WITHOUT AN INTERMISSION

The use of any recording device, either audio or video, and the taking of photographs, either with or without flash, is strictly prohibited. Please turn off all electronic devices such as cellular phones, beepers and watches.

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CAST

(in historical order)

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MUSICAL NUMBERS “Ex-Wives” ...........................................................................................................................The Queens “No Way”.............................................................................................................Catherine of Aragon “Don’t Lose Ur Head”.................................................................................................... Anne Boleyn “Heart of Stone” ..........................................................................................................Jane Seymour “Haus of Holbein”..............................................................................................................The Queens “Get Down”.....................................................................................................................Anna of Cleves “All You Wanna Do” ......................................................................................... Katherine Howard “I Don’t Need Your Love”.........................................................................................Catherine Parr “Six” .........................................................................................................................................The Queens THE LADIES IN WAITING Music Director/Keyboard—Valerie Maze Bass—Yonít Spiegelman Guitars—Rose Laguana Drums—Camila Mennitte Pereyra Associate Conductor—Lizzie Webb Music Technology: Phij Adams Synthesizer Technician: Randy Cohen Keyboards Music Coordinator: Kristy Norter

CATHERINE OF ARAGON BIRTH AND DEATH

December 15, 1485 – January 7, 1536

MARRIAGE

ONE: to Arthur (Henry’s older brother), November 14, 1501 (aged 15) TWO: to Henry VIII, June 11, 1509 (aged 23)

CHILDREN

Mary, born February 18, 1516 (later Queen Mary I).

Catherine also had two other children who died as infants, three stillborn children, and several miscarriages.

INTERESTS

Religion, sewing, dancing, a bit more religion.

CAUSE OF DEATH

Probably a type of cancer.

REMEMBERED FOR...

Her refusal to accept that her marriage was invalid; her faith; her dramatic speech to Henry when he had her brought to court to seek the annulment of their marriage.

DID YOU KNOW?

While Henry fought in France in 1513, Catherine was regent during the Battle of Flodden; when James IV of Scotland was killed in the battle, Catherine wanted to send his body to Henry as a present.

QUEENSPIRATION

Beyoncé and Shakira.

ANNE BOLEYN BIRTH AND DEATH MARRIAGE CHILDREN

c. 1501 – May 19, 1536 January 25, 1533 (aged 31)

INTERESTS QUEEN LINKS

Fashion, dancing, flirtation, collecting evangelical works.

Lady-in-waiting to Catherine of Aragon.

CAUSE OF DEATH

Executed on Tower Green, London.

REMEMBERED FOR...

Headlessness; bringing about England’s break with the Pope; having a sixth fingernail.

DID YOU KNOW?

Because she was fluent in French, Anne would have acted as a translator during the visit of Emperor Charles V to court in 1522.

QUEENSPIRATION

Lily Allen and Avril Lavigne.

Elizabeth, born September 7, 1533 (later Queen Elizabeth I).

Anne also had at least two miscarriages.

JANE SEYMOUR BIRTH AND DEATH

1507 or 1508 – October 24, 1537

MARRIAGE CHILDREN INTERESTS QUEEN LINKS

May 30, 1536 (aged 28 or 29)

CAUSE OF DEATH

Hemorrhage after the birth of Prince Edward; her child with Henry.

REMEMBERED FOR...

DID YOU KNOW?

Being the “only one he truly loved”; having two troublesome brothers who fought over the regency of the young Prince Edward after King Henry’s death.

While Anne Boleyn was still alive, Henry sent Jane a gift of money which she refused, apparently saying there “was no treasure in this world that she valued so much as her honor.”

QUEENSPIRATION

Adele and Sia.

Edward, born October 12, 1537 (later King Edward VI).

Religious faith, obedience.

Lady-in-waiting to Anne Boleyn.

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A LIT TLE B IT O F H E R-STO RY

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ANNA OF CLEVES ALSO KNOWN AS BIRTH AND DEATH

Anne of Cleves (the Anglicisation of her name) She is referred to as Anna here to distinguish between the two Annes & to honor the name she would have called herself in her own language.

1515 – July 16, 1557

MARRIAGE CHILDREN

January 6, 1540 (aged 24) None.

INTERESTS

Staying alive.

QUEEN LINKS

Anna visited Katherine Howard once she became queen and bowed down to her.

CAUSE OF DEATH

Probably cancer.

REMEMBERED FOR...

Being chosen from her portrait and then rejected when Henry met her.

DID YOU KNOW?

When Henry first met Anna of Cleves, he disguised himself, possibly imagining some sort of a romantic reaction. According to a witness, when Henry kissed Anna, she turned away coldly from the hideous stranger molesting her. The witness, Lord Russell, observed that he “never saw His Highness so marvelously astonished.”

QUEENSPIRATION

Nicki Minaj and Rihanna.

KATHERINE HOWARD BIRTH AND DEATH

c. 1523 – February 13, 1542

MARRIAGE CHILDREN

July 28, 1540 (aged 17) None.

INTERESTS

Religious faith, obedience.

QUEEN LINKS

Lady-in-waiting to Anna of Cleves; cousin to Anne Boleyn.

CAUSE OF DEATH

Executed on Tower Green, London.

REMEMBERED FOR...

Being completely used (and abused) by those with power over her.

DID YOU KNOW?

From her arrest on November 8, 1541 until her execution three months later, Katherine stayed under house arrest at Syon House; in late January of 1542, an act was passed in Parliament that rendered it treason for a woman to become the king’s wife without “plain declaration before of her unchaste life,” meaning Henry could have her killed.

QUEENSPIRATION

Ariana Grande and Britney Spears.

CATHERINE PARR BIRTH AND DEATH

c. 1512 – September 5, 1548

MARRIAGE

ONE: to Sir Edward Burgh, a courtier, 1529 – 1533 TWO: to John Neville, Lord Latimer, 1534 – 1543 THREE: to Henry VIII, July 12, 1543 FOUR: in secret to Thomas Seymour, May, 1547

CHILDREN

A daughter (to Thomas Seymour) who died as an infant.

INTERESTS

Writing books, encouraging education, the Reformation.

QUEEN LINKS

Catherine’s mother was lady-in-waiting to Catherine of Aragon and Catherine was friendly with Aragon’s daughter, Princess Mary.

CAUSE OF DEATH

Childbirth.

REMEMBERED FOR...

Surviving.

DID YOU KNOW?

Catherine was the first woman in England to publish books under her own name and in English.

QUEENSPIRATION

Alicia Keys and Emeli Sandé.

EMMA ELIZABETH SMITH (Catherine of Aragon) is honored to make her National Tour debut and to join the Queendom! TXSTMT grad. A thank you to God, her parents & sissy, family, & friends for their endless love.

And to A&R, CTC, & TRC for their trust & support. @emmalizsmith NELLA COLE (Anne Boleyn).

Broadway: The Illusionists. TV: “The Last OG” (co star) HBO, E!, NBC, Nickelodeon. 1st Nat’l Tours: & Juliet, Pretty Woman, Cruel Intentions. World Premieres: Becoming Nancy, This Ain’t No Disco. Nella makes pop music! @nellacole KELLY DENICE TAYLOR (Jane Seymour) is most recently known for her run with the Aragon Tour and Broadway company of SIX! Previously a recording artist under DMG (Walt Disney Records) Kelly has made a variety of TV appearances on Disney+, Disney Channel, ABC, and more! International: Disney Cruise Line, Universal Studios Japan.

Endless thanks to my agents at FSE, to TRC, and the entire queendom! @kellydenicetaylor HAILEY ALEXIS LEWIS (Anna of Cleves) is an Afro-Canadian triplethreat artist, and has performed in shows such as: Six, Harry Potter and the Cursed Child, Hairspray, and more across Canadian theatres, and TV/Film credits such as: Disney’s Zombies, American Gods, and most recently, Welcome to Derry. Hailey would like to thank her mama for being her forever Queenspiration. @haileyalexislewis ALIZÉ CRUZ (Katherine Howard).

Credits- Theatre: Raven FalcoBat Out of Hell (Paris Theatre, Las Vegas), Moana- Disney’s When You Wish (Tuacahn Amphitheater).

Film: Skeletons in the Closet (Lead Stand-In), Stella Artois x Ludacris (Lead), The Wrecker (Extra). She thanks her family, Firestarter Entertainment, the SIX team, and all of you Queens on her journey to the throne! Let’s make her-story!

TASIA JUNGBAUER (Catherine Parr) is honored to be a part of the Queendom and bring this histo-remix across the country. Broadway: Moulin Rouge! (Arabia, Satine U/S). TV: “WeCrashed” (Apple TV). Pepperdine University (Ayo Waves!). A million

thanks to team SIX and Gray Talent Group. And to Mom, Yasmin, Mike, and friends — I DO need your love!

REESE CAMERON (they/them) (Alternate). What a DREAM! Credits: Funny Girl (tour), Wonderful Town (NYCC), Diary of a Tap Dancer (A.R.T.).

Thank you Marc, Dustin, and Eden at Daniel Hoff! To the non-binary queer kid in the audience, you belong here. @reese.cameron23 ANNA HERTEL (Alternate). National Tour Debut! Anna is elated to join the SIX Queendom. Off Bway: Rock & Roll Man, Jimmy Awards Best Dancer ‘17, BFA Elon MT. Grateful to Daniel Hoff Agency & SIX team. Love to her husband, and family! Glory to God! @anna_hertel CARLINA PARKER (Dance Captain, Alternate). Hello Queendom! National Tour credits: RENT (Mimi/Joanne understudy, Assistant Dance Captain), Rock of Ages (Justice/Regina understudy), Mamma Mia! (Ali/Lisa understudy). Other credits: Mamma Mia! (Lisa), Summer (Adult Mary Ellen, Diva understudy). “Much love to my family, friends, and every dog I’ve ever seen.” Instagram: @carlina_parker ABIGAIL SPARROW (Alternate).

Abigail is thrilled to return to the Queendom! Recently: Jenna in Waitress (ACT of CT), SIX (Mirvish, NCL) Producer, musician - new album coming 2026. Love to family, friends, TALENTHOUSENYC, and TRC. @abigailsparrowofficial TOBY MARLOW (Writer) is the other half of Marlow and Moss, the writing duo behind the musical SIX, alongside Lucy Moss. For SIX, the duo won the 2022 Tony Award for Best Score, two Drama Desk Awards, an Outer Critics Circle Award, and they received a Grammy nomination for the album SIX: Live on Opening Night.

Other writing and composing credits include Hot Gay Time Machine (West End), Book of Queer (discovery+), The Monkey King (Netflix), Leo Reich: Literally Who Cares?! (Off-Broadway, Soho Theatre), “The 75th Annual Tony Awards” (CBS), Dylan Mulvaney’s Day 365 LIVE! (The Rainbow Room), Courtney Act: Fluid (international tour), and Kyle Hanagami’s Stay Inside. Toby also writes pop music, collaborating with artists such as Jinkx Monsoon (The Virgo Odyssey), and

Alaska Thunder**** (“ROY G BIV”). @thetobymarlow LUCY MOSS (Writer, Co-Director) won the 2022 Tony Award for Best Score for THIS VERY SHOW, alongside her close personal friend and colleague, Toby Marlow. Her work on SIX also made her the youngest woman ever to direct a musical on Broadway (lol). Other writer-director credits include Why Am I So Single? (West End); Hot Gay Time Machine (West End). Her directing credits include Legally Blonde (Regent’s Park Open Air Theatre); Ratatouille: The TikTok Musical (Actors’ Fund Online Benefit).

Her songwriting credits include The Monkey King (Netflix); Book of Queer (discovery+); “The 75th Annual Tony Awards” (CBS). Most importantly, she loves to kayak. You can find her on the internet @mucyloss JAMIE ARMITAGE (Co-Director) is a Tony Award-nominated director for his work on SIX. Directing credits include: The Red & The Black (Tokyo Metropolitan Theatre), Straight Line Crazy (The Shed; co-directed with Nicholas Hytner), Southern Belles: A Tennessee Williams Double Bill (King’s Head Theatre); Spring Awakening and Sweeney Todd (RCSSD); And Tell Sad Stories of the Death of Queens (King’s Head Theatre); Love Me Now (Tristan Bates Theatre). Writing/Directing credits include: An Interrogation (Hampstead Theatre & Summerhall).

He is an Associate Director of the Bridge Theatre. He was a resident director at the Almeida Theatre from 2019 to 2021, and an associate artist at the King’s Head Theatre.

CARRIE-ANNE INGROUILLE (Choreography). She/her. Carrie is an Olivier and Tony Award-nominated choreographer for her work on SIX. Choreography credits include Antigone (Regent’s Park Open Air Theatre), Our Generation (National Theatre), Wonderful Town (Opera Holland Park), This Is My Family (Chichester Festival Theatre), Tales of the Turntable (Southbank Centre), Jeeves & Wooster in Perfect Nonsense (Duke of York’s Theatre/U.K. tour), The Mad Hatter’s Tea Party (Royal Opera House), The Suicide (National Theatre), R&D (Hampstead Theatre), The Catherine Tate Show Live (U.K. tour), Into the Hoods Remixed (Peacock Theatre/ U.K. tour) and Some Like it Hip Hop (Peacock

SIX

WHO’S WHO

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Theatre/U.K. tour). Carrie is currently the U.K. Associate Choreographer for Hamilton, London.

JOE BEIGHTON (Music Supervision) is a musical director and supervisor based in London. In 2019 he received an Olivier Award nomination for Outstanding Achievement in Music for his work on SIX. Musical supervisor credits include SIX (U.K. tours and West End, Broadway, Chicago [winner: Jeff Award for Musical Direction], Sydney Opera House; NCL); St. Anne Comes Home (Actors Church); Babies (BYMT). Joe studied music at the University of Cambridge before training at the Mountview Academy of Theatre Arts.

EMMA BAILEY (Scenic Design) is an award-winning set and costume designer based in Scotland. She originally trained as an architect and continued her studies at the prestigious Motley Theatre Design course. In 2011 she was awarded the Linbury Prize for Stage Design for her production of Roy Orbison in Clingfilm at the Royal Opera House London. She trained at the Royal Shakespeare Company and has gone on to design for theatre, opera, music and fashion. emmabaileydesign.com GABRIELLA SLADE (Costume Design) works as a costume designer in the UK and internationally. She won the 2022 Tony, Drama Desk & Outer Critics Circle Award for Best Costume Design for SIX and was nominated for an Olivier Award in 2019. Credits include Spice World 2019 (UK & Ireland Stadium Tour); The Cher Show; Bedknobs & Broomsticks; Curtains (UK & Ireland Tour). Gabriella is thrilled that SIX marks her Broadway debut.

TIM DEILING (Lighting Design).

Nominated for the 2022 Tony Award for Best Lighting Design for SIX. West End credits: SIX, Knights of the Rose, American Idiot, Cinderella, Dick Whittington, Vanities the Musical. He’s also lit many U.K. tours including Club Tropicana, Our House, HMS Pinafore and Summer Holiday. He’s worked on many plays/musicals at regional U.K. theatres and throughout Europe.

He’s also worked for many years as an associate to Ken Billington and The National Theater in London. Tim is an American living in London.

PAUL GATEHOUSE (Sound Design) is a Grammy, Tony and Drama Desk Award nominated sound designer and music producer. Sound design: 42 Balloons (Lowry Theatre); The Little Big Things (@sohoplace); Mandela (Young Vic); Identical (Nottingham Playhouse); Oliver! (Asia premiere in Tokyo); Rent (Hope Mill Theatre); SIX the Musical (London/ Broadway/ U.K. and U.S. tours/ Australia, Korea); Cameron Mackintosh and Disney’s Mary Poppins (London/ Tokyo/ Australia); The Witches of Eastwick (Cirkus Theatre, Stockholm); Amélie (MunichWerk7). Recordings: SIX: Live on Opening Night (producer/mixer); Mandela - Original Cast Recording (producer, mixer); Mel Brooks’ Young Frankenstein Original London Cast Recording (producer/mixer); Newsies (mixer); Miss Saigon: The Definitive Live Recording (recording engineer/ mixer). Film: SIX the Musical (London).

TOM CURRAN (Orchestrations) is a Grammy, Tony, Olivier and Drama Desk Award nominated orchestrator, arranger and music producer. Theatre credits include: The Great British Bake Off Musical (West End/Cheltenham); Identical (Nottingham/Manchester); SIX (Worldwide). As associate orchestrator: Funny Girl (Broadway/ West End/UK tour); Barnum (Menier Chocolate Factory); High Society (The Old Vic). Orchestrations for Alexis Ffrench and Marc Almond. Music department for Jeff Wayne’s The War Of The Worlds. Tom is a graduate of the Guildhall School of Music & Drama. @tomcurran_music ROBERTA DUCHAK (Music Supervision U.S.) Broadway: SIX. Broadway’s The Notebook (Vocal Coach), Hell’s Kitchen @ Public Theatre (Vocal Coach), Regional: SIX (Chicago Shakespeare, A.R.T., Citadel, Ordway); Emma (Chicago Shakes); Past resident musical director at Drury Lane Theatre; Brigadoon (Goodman Theatre). Film: vocal coach for Russell Crowe and Hugh Jackman in Les Misérables. Winner of two Jeff Awards; five nominations. Notable acting credits: Ragtime (Broadway); Show Boat (National Tour); The 25th Annual Putnam County Spelling Bee (Chicago/ National Tour). @robertaduchakvocalstudio VALERIE MAZE (Music Director).

Valerie is thrilled to be returning to SIX! Select Credits: SIX on Broadway and 1st National Tour. Conductor: Brigadoon (Goodman Theatre),

Follies, Gypsy (Chicago Shakespeare), A Little Night Music (Writers Theatre, Jeff Award nomination), Evita (Drury Lane). At Lyric Opera of Chicago: Showboat, Oklahoma!, The Sound of Music (with Billy Zane), Carousel (with Steven Pasquale), The King and I (with Kate Baldwin), and My Fair Lady.

HUDSON THEATRICAL ASSOCIATES (Technical Supervisor). Over 100 Broadway productions and tours.

Recent: Maybe Happy Ending, Sunset Blvd, Left on Tenth, Our Town, Oh, Mary!, Suffs, The Notebook, Hadestown, Hamilton, Aladdin. HTA is a member of Neil A. Mazzella’s Hudson family which includes Hudson Scenic Studios, Bridget Van Dyke, Sam Ellis, Sean Gorski, Brianna Stankiewicz, Brianne Tabak, and Irene Wang.

THEATER MATTERS (General Management) manages live entertainment globally. It is represented on Broadway by SIX and the upcoming Two Strangers Carry A Cake Across New York, and across North America

by SIX and The Notebook. Recent productions include The Notebook, Days of Wine and Roses, The Play That Goes Wrong, Mrs. Doubtfire, The Devil Wears Prada and Peter Pan Goes Wrong.

THE TRC COMPANY (Casting) Led by partners Claire Burke, Kevin Metzger-Timson, Xavier Rubiano, and Peter Van Dam. Broadway: Dead Outlaw, BOOP! The Musical, Stephen Sondheim’s Old Friends, Buena Vista Social Club, Death Becomes Her, Left on Tenth, The Outsiders, Aladdin. National Tours: The Phantom Of The Opera, Water for Elephants, Beauty & The Beast, The Wiz, Back To The Future, Mamma Mia!, Les Misérables. The TRC Company is proud to continue the casting legacy of Tara Rubin Casting and JohnsonLiff Casting.

GALIA BACKAL (Associate Director) is a first generation Mexican-American director, choreographer, and collaborator. Selected credits: El Huracán (Brooklyn College), Into the Woods (Prima Theatre), Does the Title Matter?

(Circle in the Square Theatre School), El Corrido de California (Roundabout Theatre Company Refocus Project), Macbeth (Circle in the Square Theatre School), The Archive (Pace University), EVERYBODY (LIU Post), El Cóndor Mágico (The Civilians R&D Group). www.galiabackal.com

TAYLOR McMAHON (Resident Choreographer). At the core, Taylor thrives to curate creative spaces that place communication and collaboration above all else. Previously: Associate Choreographer Fly (La Jolla), One Thousand Nights and One Day (Prospect Theater) and co-creator Arts for Alz (@artsforalznyc). Choose kind. @taylorjmcmahon ELIZABETH RACANELLI (Resident Choreographer) is so excited to be a part of the SIX Queendom. She was last seen performing in the Broadway and touring companies of Hamilton as a swing. She would like to thank the entire creative team for this special opportunity. Love to family, friends, MM, EGM, and AGM. JAY CAREY (Production Stage Manager). Broadway: SIX, Ain’t Too Proud, Jersey Boys, Finding Neverland.

Tours: SIX 1st National, Company, Ain’t Too Proud, Jersey Boys, The Curious Incident of the Dog in the Night-Time.

A proud AEA member. Love to my three “Queens” — Chris, Roxy, & Mom. @jaycarey212 ASHANI SMITH (Stage Manager) Nat’l Tours: Jagged Little Pill, Company, & Pretty Woman. Regional: The Preacher’s Wife (Alliance Theatre), The Color Purple, A Chorus Line, Lady Day (PA Shakespeare Festival).

Proud member of Delta Sigma Theta Sorority Inc. Love to mom, Zion, and my amazing friends who continue to uplift me. @ashanihadiyah WILLIAM COLLINS (Assistant Stage Manager). Touring: The Realish Housewives (The Second City). Also with The Second City, productions at Woolly Mammoth Theatre Company, The Kennedy Center, Huntington Theater, San Diego Repertory and Berkley Repertory. Six seasons with Peninsula Players Theater and the Chicago run of Hamilton. Love to Helen and Clara.

NEURO TOUR (Physical Therapy).

Carolyn M. Lawson PT, founder and CEO NEURO TOUR & Neurosport Physical Therapy, leaders in entertainment and performing arts medicine. We are honored to be part of this amazing production of SIX. NT, keeping performers, Happy, Healthy, & On Stage!

THE BOOKING GROUP (Tour Booking Agency) has represented 27 Tony Award® winning Best Musicals and Plays. Current tours include: Hamilton, Dear Evan Hansen, Come From Away, The Book of Mormon, 1776, Hadestown, Mean Girls, MJ The Musical, Pretty Woman, Six, Tina, To Kill A Mockingbird, Anastasia, Chicago, Fiddler on the Roof, Hairspray, My Fair Lady, R.E.S.P.E.C.T and Tootsie. Future tours include: Almost Famous, Funny Girl, Mamma Mia!, Mrs. Doubtfire, A Strange Loop, The Devil Wears Prada, and The Wiz. BOND THEATRICAL (Tour Marketing & Publicity) is an independentlyowned theatrical booking, marketing and publicity company representing award-winning Broadway shows and live entertainment properties. BOND connects artists and audiences by forming strategic, authentic and profitable partnerships between producers and presenters across North America. For a complete list of current projects, please visit BondTheatrical.com.

THE PEKOE GROUP (Advertising/ Social Media) is an advertising agency serving Broadway shows in NYC and on Tour. As a Certified WomanOwned Business, The Pekoe Group is proud to represent SIX on Broadway and across North America.

KENNY WAX MBE (Producer), former president of the Society of London Theatre, is the worldwide producer of Tony Award-winning and Laurence Olivier-nominated SIX the Musical which was recently released in UK cinemas. Also represented in the West End and off-Broadway by The Play That Goes Wrong, now in its 10th year, The Comedy About Spies, Just For One Day the Live Aid Musical and The Shark Is Broken. In development for production in 2026 is The Boy Who Harnessed The Wind and a co-production of Top Hat with Chichester Festival Theatre.

Past Laurence Olivier Award-winning productions include Top Hat (winner of three Olivier Awards, including Best New Musical), Once on This Island (Best New Musical), The Worst Witch and Hey Duggee (Best Family

Entertainment) and the recently nominated Why Am I So Single? (Best New Musical).

WENDY BARNES & ANDY BARNES for GLOBAL MUSICALS (Producers).

Global Musicals was founded by Wendy and Andy Barnes to produce new contemporary British musicals by lesser-known writers. Spotted by them as a student production at the Edinburgh Festival in 2016, SIX marked the company’s first production, which they now produce around the world.

They recently produced the World Premiere production of a new British musical 42 Balloons, by awardwinning writer Jack Godfrey, which Jack submitted through their open submission program, Perfect Pitch, an ongoing resource for emerging writers. 42 Balloons received multiple 5-star reviews and will be opening a new production in Spring 2025.

Other new musicals coming soon include Pieces of String & Wish List. globalmusicals.com GEORGE STILES he/him (Producer) is best known as an Olivier Awardwinning composer of stage musicals, most notably with lyricist Anthony Drewe. Their acclaimed shows include Honk! (Olivier Award for Best New Musical), Betty Blue Eyes, Soho Cinders and Mary Poppins, which played for six years at Broadway’s New Amsterdam Theatre and which recently enjoyed a triumphant West End revival and a second tour of Australia. George is a passionate supporter of new British musicals, nurturing new writing with the Stiles + Drewe Prize and Mentorship Award, and is proud to be making his Broadway producing debut with SIX alongside fellow champions of new British musicals, Kenny Wax, Wendy and Andy Barnes. With Kenny Wax, he will be producing the premiere of Marlow and Moss’ new show, Why Am I So Single? in London next year. stilesanddrewe.com KEVIN McCOLLUM (Producer) received the Tony Award for Best Musical for Rent (1996), Avenue Q (2004) and In the Heights (2008).

Current: SIX (Broadway, North American tour); Oh Mary! (Broadway); The Devil Wears Prada (West End); Mrs. Doubtfire (West End); The Play That Goes Wrong (Off-Broadway).

Additional Past Credits Include: The Notebook (Broadway); Days of Wine and Roses (Broadway); Peter Pan Goes Wrong (Broadway); Mrs. Doubtfire (Broadway); Motown: The Musical (Broadway, West End, U.K. and

SIX

ELIZA OHMAN (Associate Cho­reographer) spent the pandemic teaching, dancing on her roof and handing out free samples of hemp-infused seltzer.

Dreams. Pre-pandemic she was seen onstage screaming/crying in King Kong, as well as shows like Hamilton, “Fosse/Verdon,” “The Marvelous Mrs. Maisel” and “Dispatches From Elsewhere.” She practices the guitar daily, has seen little improvement, and loves Josh. Rom 12:12. @elizaohman

SIX

U.S. tours); The Drowsy Chaperone (Broadway, UK and US Tours); Something Rotten! (Broadway, U.S. tour); Hand to God (Broadway, West End); Baz Luhrmann’s La Bohème; [title of show] (Broadway). West Side Story film (2021) directed by Steven Spielberg. Upcoming: Black Swan, Night At The Museum, 42 Balloons.

CHICAGO SHAKESPEARE THEATER (Producer) proudly produced the North American premiere of SIX. A leading international theater company and recipient of the Tony Award for Outstanding Regional Theatre, Chicago Shakespeare produces a year-round season featuring plays, musicals, world premieres and theatrical presentations from around the globe—alongside education programming for students, teachers and lifelong learners, and creative community engagement with artists across the city. The Theater is Chicago’s leading international presenter and has toured its own productions across five continents, garnering multiple accolades, including the prestigious Laurence Olivier Award. chicagoshakes.com LUCAS McMAHON (Executive Producer) is thrilled to be part of the Queens’ reign! He is represented on Broadway this season with The Notebook, Oh, Mary!, and SIX . Other credits include Mind Mangler (OffBroadway), Peter Pan Goes Wrong (Broadway and LA), The Play That Goes Wrong (Broadway, OffBroadway and national tour), Mike Birbiglia’s The New One (Broadway and national tour), Something Rotten!

(Broadway and national tour), Hand to God (Broadway and West End), Mrs. Doubtfire (Broadway, national tour and West End) and Leo Reich: Literally Who Cares?! (Off-Broadway).

SAM LEVY (Associate Producer) is an award-winning New York-based theatre producer. Credits include SIX (U.S. and Canada); Why Am I So Single? (West End); 42 Balloons (US and UK); Come From Away (Broadway, West End, Toronto, Australia); The Ferryman (Broadway); The Mentalists (West End); Old Stock: A Refugee Love Story (New York and London). Over a decade with Arielle Tepper Productions, including director of programming at the Summer Play Festival at The Public Theater.

Proud to be associated with SIX from its early days in the UK, to Broadway and beyond.

STAFF FOR SIX

ADVERTISING/SOCIAL MEDIA THE PEKOE GROUP Amanda Pekoe Jessica Ferreira Christopher Lueck Connor Santos Jenny Dorso Kiernan Matts Ryan Meitzler Kelly Ganning David Blaakman Audrey Armacost Langley Hayman Emily Mayo

Head Carpenter.........................................Gregory Pott Assistant Carpenter.......................... Matthew McKim Production Electrician.......................... Jimmy Fedigan, Patrick Johnston Head Electrician................................... Edgar Vanegas Assistant Electrician....................................... Jada Cox Head Props.................................................Aaron Heeter Production Sound....................................... Dillon Cody Head Sound..................................................Alicia Martin Assistant Sound............................. Kimberley Thomas Advance Sound.......................................Dan Scheivert Production Wardrobe Supervisor........ Kristina May Wardrobe Supervisor..................... Adrianna Covone Production Wig Supervision.............................. Charles G. LaPointe Associate Production Wig Supervision.....................................Loren Skora Hair & Makeup Supervisor........................... Lisa Chan Crew Swings........... Casandra Maher, Nicholas Zoia Moving Light Programmers...........Paul Toben, Scott K. Tusing Music Technology........................................ Phij Adams Synthesizer Technician..........................Randy Cohen Associate Synthesizer Technician....................................... Nicolas Schenkel Costume Craftspersons.............. Matthew Freeman, Eve Guttman Ticketing Manager..................... Annie Van Nostrand General Management Assistant........Bella Cordova General Management Fellow..................................... Ellie Omori-Sampson National Press Office............ Boneau/Bryan-Brown, Adrian Bryan-Brown, Susanne Tighe, Angela Yamarone Diversity and Culture Partner..........Tiffanie Claude 6 Music Co-Producer................................ Paul Lisberg Original Graphic Design......................... Rebecca Pitt Human Resources Consulting...................K+K Reset Banking..................................................Customers Bank Insurance...........The Arts Insurance Program, LLC/ Bob Middleton, Meghan Coleman, Toni Preto Housing and Ground Travel.....................Road Rebel Air Travel............................ A Team Tours/Tzell Travel Visa Consultants............................ Wiskoff Law, PLLC Accounting.....................Withum Smith + Brown, PC Controller............... Galbraith & Co./Amanda Hayek, Emma Gorin Payroll Services.......... Checks and Balances Payroll Physical Therapy........... Neuro Tour/Paige Winston Production Photography........................Joan Marcus Merchandise......................Platypus Productions LLC

CASTING THE TRC COMPANY Claire Burke CSA, Kevin Metzger-Timson CSA, Xavier Rubiano CSA, Peter Van Dam CSA, Tara Rubin CSA, Merri Sugarman CSA, Louis DiPaolo CSA, Spencer Gualdoni CSA, Olivia Paige West CSA, Frankie Ramirez CSA

KENNY WAX, LTD. Kenny Wax Lettie Graham Emily McDonald Sarah Newbury Izzy O’Flanagan Fiona Taylor Matthew Sedman Jessey Barnes Jasmine Wright Paige Cananvan-Smith Caitlin Barnes Olivia Johnston Amanda Sutton

LEGAL COUNSEL LEVINE PLOTKIN LLP Loren Plotkin Conrad Rippy Susan Mindell Daniel Watkins Emily Erstling Kevin Hess Cris Criswell

GLOBAL MUSICALS LTD. Andy Barnes Wendy Barnes Josh Bird Debbie Hicks

GENERAL MANAGEMENT THEATER MATTERS John E. Gendron Ashley Berman Rachel Bonner Michael Camp Bella Cordova Arella Flur Katie Pope Annie Van Nostrand Eric Rothstein Ellie Omori-Sampson Michelle Yard COMPANY MANAGER Stephanie Smith Associate Company Manager.......Royce Matthews ASSOCIATE PRODUCER Sam Levy PRODUCTION SUPERVISOR Molly Meg Legal PRODUCTION MANAGEMENT HUDSON THEATRICAL ASSOCIATES Stephen M. Kaus Sean Gorski Bridget Van Dyke Brianna Stankiewicz Frank Swann Brianne Tabak Irene Wang TOUR BOOKING AGENCY THE BOOKING GROUP Meredith Blair Kara Gebhart Laura Kolarik Stephanie Ditman Sophie Tiesler www.thebookinggroup.com TOUR MARKETING & PUBLICITY BOND THEATRICAL bondtheatrical.com Temah Higgins Mollie Mann DJ Martin Marc Viscardi Wendy Roberts Jenny Bates Melissa Cohen Harrison Mootoo Alexandra De La Cerda Caroline Frawley Bridget Gross Tony Joy Steph Kelleher Deborah Mann Scotland Newton Elisabeth Reyes Linda Stewart Katelyn Wenkoff

Production Stage Manager......................... Jay Carey Stage Manager.......................................... Ashani Smith Assistant Stage Manager................... William Collins Associate Director..................................... Galia Backal Associate Choreographer...................... Eliza Ohman Resident Choreographers.............. Taylor McMahon, Elizabeth Racanelli Associate Scenic Designer.................. Meredith Ries Associate Costume Designers...................Lisa Zinni, Amanda Jenks Assistant Costume Designer........Courtney Irizarry Associate Lighting Designer..............Timothy Reed Assistant Lighting Designers............... Victoria Bain, Piper Phillips Associate Sound Designers.........Joseph Haggerty, Josh Millican Production Carpenter.......................... Andy Cappelli Associate Production Carpenter....... Adam Farber

GEORGE STILES George Stiles Jessie Berman Hugh Vanstone ALCHEMATION Kevin McCollum Lucas McMahon John Ban Jack Eidson Evan Shalat Lyndsay Borko Breanne Jackson EX WIVES LTD. International Executive Producer.....Sarah Stribley Head of Marketing & International Brand Manager........................................ Mark Jones International Social Media............................ Josh Bird International General Manager......Andrew Morgan International Associate General Manager .................................. Liv Marshall International Associate Producer.............................................Demid Naumov

Makeup provided by M·A·C SPECIAL THANKS We’d like to thank all the Queens and Ladies in Waiting past and present; Grace Taylor; FrannyAnne Rafferty; Freya Sands; Melody Sinclair; Katy Richardson; Justin Allin; Lauren Dix; Jamie Platt; Charlie Smith; Steve Gage; Lotte Wakeham; Cressida Carré; Andy Graham; Roberto Surace; Rebecca Fry; Jimmy Jones; the staff at the Arts Theatre; Kevin Wilson; Martin Barrow; Helen Snell; James & Rosie Pearson; Genevieve Ampaduh; Stephen Crocker and all the staff at Norwich Theatre; Andy Barnwell; Sylvia Addison; Pippa Ailion.

SIX was originally performed by the Cambridge University Musical Theatre Society and featured Megan Gilbert, Ashleigh Weir, Holly Musgrave, Tilda Wickham, Annabel Marlow, and Shimali De Silva.

This production is presented under license from Ex-Wives Ltd. London, the exclusive worldwide licensor for SIX © 2017 Toby Marlow and Lucy Moss. All rights reserved. All rights inquiries to rights.sixthemusical.com. SIX logo © Ex-Wives Ltd. For all tour booking inquiries, please contact The Booking Group www.thebookinggroup.com To learn more about the production, please visit www.sixonbroadway.com Follow us on Twitter, Facebook, Instagram and TikTok: @sixustour We are gathered in this theatre on the traditional and unceded territories of the Ute, Cheyenne, and Arapaho Peoples. We also recognize the 48 contemporary Indigenous Tribes and Nations who have historically called Colorado home. The entire team at SIX pays its respects to Elders past, present, and future, and to all those who have stewarded the land and water for generations. May we all grow in our relationship with the vibrant Indigenous communities who continue to thrive and uphold their sacred relation to this land.

Please be advised that smoke, haze, and strobe lights are used during the performance.

WARNING The photographing or sound recording of any performance or the possession of any device for such photographing or sound recording inside this theatre, without the written permission of the management, is prohibited by law. Violators may be punished by ejection and violations may render the offender liable for money damages.

THE ACTORS AND STAGE MANAGERS EMPLOYED IN THIS PRODUCTION ARE MEMBERS OF ACTORS’ EQUITY ASSOCIATION, THE UNION OF PROFESSIONAL ACTORS AND STAGE MANAGERS IN THE UNITED STATES.

DENVER CENTER FOR THE PERFORMING ARTS GRATEFULLY ACKNOWLEDGES THE FOLLOWING SUPPORT IN ITS 2025/26 BROADWAY SEASON

ATPAM, the Association of Theatrical Press Agents & Managers (IATSE Local 18032), represents the Press Agents, Company Managers and House Managers employed on this production.

Backstage Employees are represented by the International Alliance of Theatrical Stage Employees (or I.A.T.S.E.).

The musicians employed in this production are members of the American Federation of Musicians.

PLEASE BE ADVISED • LATECOMERS and those exiting the theatre are seated at predetermined breaks in designated areas.

• PHOTOS, RECORDING & CELL PHONE USE are prohibited.

• CHILDREN 6+ are welcome in our theatres and must be ticketed.

• DRINKS are allowed in provided containers.

• ASSISTIVE LISTENING DEVICES, LARGE PRINT PROGRAMS & BOOSTER SEATS are available in most theatres. Ask an usher to direct you.

• BRAILLE PROGRAMS are available with 2 weeks’ notice to amcmullen@dcpa.org or 303.446.4836.

Members of Denver Theatrical Wardrobe, Wigs, Hair and Make-up, IATSE Local 719

The Denver Performing Arts Complex is owned and operated by Denver Arts & Venues for the City and County of Denver.

City and County of Denver Mike Johnston, Mayor Denver Arts & Venues Gretchen Hollrah, Executive Director Jen Morris, Deputy Executive Director Tariana Navas-Nievas, Deputy Executive Director Denver Arts & Venues, Arts Complex Operations Jody Grossman, Venue Director Todd Medley, Facilities Superintendent Kelly Graham, Safety, Security and Garage Operations Manager Carol Krueger, Patron Services Manager artscomplex.com | (720) 865-4220 For immediate assistance & security (720) 865-4200

Robin Appleton Julie Bassignani Vonnie Clough Craig Cory Cyndie Cory Steve Davies Anne Davis Amber Krimbel Carolyn Dore AnnSue Gunter Judy Holabird Will Holabird Lauren LaCasse Kelsey Lambert

Leslie Lambert Sarah Lambert Sharon Millikan-Hale Callie Morrow Tim Nelson Lisa Parsons Wagner Laura Payne Dave Poole Alan Richards Elisa Spadi Amy Tepel Eliza Vlasova Barbara Wilson

DPAC House Crew Mark Anthony Perry Elliott Kiko Marra Allen Olmstead

Albert Sainz Sr. Josh Thurman Derek Tovar David A. Wilson

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SIX

International Marketing Coordinator.......................................Olivia Johnston Licensing Consultant............................. Sacha Brooks CREDITS Scenery built, painted, and electrified by Hudson Scenic Studio. Automation and show control featuring Hudson Motion Control by Hudson Scenic Studio. Sound Shop: Sound Associates.

Lighting equipment provided by PRG Lighting.

Costumes executed by John Kristiansen New York Inc. Custom shoes by LaDuca. Custom Jewelry by R.Kaye Lmtd. Hosiery by Bratenders and Capezio.

Wigs constructed by Chuck LaPointe.

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National Tour of Meredith Willson’s THE MUSIC MAN.

PRESERVING A CLASSIC:

MEREDITH WILLSON’S THE MUSIC MAN

BY LISA BORNSTEIN

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What makes something obsolete – and conversely, what makes it a classic? The very premise of Seven Brides for Seven Brothers – the abduction of young women to care for the brothers – keeps it off most stages these days. The King and I requires heavy alterations to overcome its condescension toward the culture of Southeast Asia.

One might guess The Music Man, nearly 70 years old, would fall into that category. Meredith Willson’s 1957 musical was drawn from his own childhood, as well as his days playing the piccolo for John Philip Sousa’s legendary band. In tiny, fictional River City, Iowa, con man Prof.

Harold Hill rolls into town, promising to fix an entire town’s problem by teaching its youth to play band instruments.

But director Matt Lenz sees much relevance in it to our present day.

“I do think there is something to be heard differently today in terms of what’s happening in society,” Lenz says. ”It’s a little bit stuck in its ways, and a little fractured, and a little cynical,” he says of River City. “And I love that the arts can come in and get them to harmonize, literally, and to change their minds” The Denver tour is an entirely new production, a partnership between director Lenz and choreographer Josh Bergasse who previously collaborated on the 2017 production of Charlie and the Chocolate Factory.

“It’s chockfull of those amazing songs,” Lenz says. “The first thing I thought was I need somebody like Josh to do this with me because there are these huge, athletic, fantastic dances in it.”

With a 34-member cast and 10 who are dancers first, the show is bringing back the full choreography that used to be a hallmark of musical theatre.

“We’ve got to make sure we have a crew of real dancers in this, in kind of the old-fashioned way they did musicals,” Lenz says. “I don’t think there are tons of shows on the road these days that surprise people with that full-on dance.”

While little had to be eliminated from the show for today’s audiences, the designers met with an eye toward how today’s audiences would see, hear, and feel, and what they could do to celebrate the musical’s core while reaching those theatergoers.

“The first thing we talked about was the rhythm of the show, which starts right off the bat with the train,” Lenz explains. Its rhythm serves to underlie the heart of the show — a small town that doesn’t want to be thrown off its rhythm.

I love that the arts can come in and get [the residents of River City] to harmonize, literally, and to change their minds. — MATT LENZ, DIRECTOR “‘Rock Island’ is dialogue that…becomes musicalized when the train starts up and you start to hear the rhythm of the train,” Lenz says of the opening number. “I want to find a way to carry that through even more. Is there something to keep them in a kind of rhythmic lockstep?

There’s something about that town just clicking along, and everything being the way it is, and then that relaxing, and then that scaring some people to death.”

And that’s a sensation that never falls into obsolescence.

MEREDITH WILLSON’S THE MUSIC MAN FEB 27 – MAR 1 BUELL THEATRE

ASL Interpreted, Audio Described, and Open Captioned performance: Feb 28 at 2pm

READ THE FULL ARTICLE

APPLAUSE • JAN – FEB 2026 • 303.893.4100 • DENVERCENTER.ORG

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FINDING YOURSELF IN COWBOYS AND EAST INDIANS

BY JOANNE OSTROW

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When her play, Cowboys and East Indians, has its world premiere, playwright Nina McConigley thinks it’s going to be mind-blowing for her mother, who was born in India and lives in Wyoming, to see actors wearing saris onstage at the Denver Center for the Performing Arts.

Growing up in Casper, as “the other kind of Indian in Wyoming,” McConigley said, there wasn’t another sari in sight. Nor an Indian grocery store or restaurant. Her Indian/Irish-American family moved to Wyoming when she was a baby. Her mother found it difficult to adjust to the emptiness and new culture, while Nina grew up feeling confused and isolated.

“The play isn’t so much about race; it’s about not seeing a version of yourself and what that does,” McConigley said. “Wyoming is one of the least racially diverse states, and it is a different kind of growing up.”

She hopes the play, co-adapted by Matthew Spangler from her semi-biographical short story collection of the same name, reinterprets the American West for audiences. “I hope it gives people a different look at Wyoming and the idea of rural immigration.”

Like her main character, “I did live back home with my family when my mom had cancer. When I wrote the short story, it was about anxiety for me. So much of my sense of Indian-ness was through my mom and I did think, if I lose her, I don’t know what’s going to happen.”

Now a professor at Colorado State University, her new novel, How to Commit A Postcolonial Murder, will be published simultaneously with the world premiere of Cowboys and East Indians, which was a hit at the Denver Center Theatre Company’s 2024 Colorado New Play Summit, delivering a smart mix of culture-clash comedy and pathos that sparked tears and laughter in a staged reading.

McConigley and Spangler met in their hometown of

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Casper and followed each other through middle and high school, each harboring a love of the West, the sparse landscape and the people. DCPA Director of Literary Programs Leean Kim Torske, the show’s dramaturg, is also from Wyoming and co-commissioned McConigley and Spangler to adapt the short stories for the Denver Center Theatre Company.

Best known for his stage adaptation of The Kite Runner, Spangler is a playwright and professor of performance studies at San José State University where he teaches courses in how refugees and asylum-seekers are represented through the performing arts. One of his other plays, The Beekeeper of Aleppo, co-written with Nesrin Alrefaai and based on the bestselling novel by Christy Lefteri, will receive its second UK tour this spring.

When she wrote Cowboys and East Indians, McConigley said, she never thought of the story as a play.

Spangler recalled the pair participated in a 2022 panel discussion in Casper and hypothetically talked about how they might approach adapting Nina’s collection of short stories for the stage. Eventually, this hypothetical discussion would lead to a real commission and collaboration.

Although popular culture is full of Irish, Italian, Chinese, Jewish, and other New York City immigration stories, McConigley notes a lack of stories about rural immigrants.

“While it is difficult being an immigrant anywhere,” she said, “unlike cities with diverse ethnic populations, Casper is very monocultural. I just wanted to write about my experience of growing up, brown in Wyoming, really.”

When there is no reflection of yourself in the world around you, your identity is in question. “There was a brief moment as a kid when I [described myself as] ‘Arapaho,’” McConigley said. “Easier than explaining…”

For Spangler, who has generations of Wyoming fami-

APPLAUSE • JAN – FEB 2026 • 303.893.4100 • DENVERCENTER.ORG

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ly history, “the play essentially is about loneliness, how we deal with loneliness, and how we try to create senses of belonging to mitigate loneliness. Sometimes those spaces of belonging are risky.”

“There’s something about [the Wyoming] landscape that’s beautiful, striking, and also its own metaphor for loneliness,” Spangler said.

McConigley recalls visiting numerous book clubs around Wyoming when Cowboys and East Indians came out, “and having many people say to me, ‘I’ve never thought about race in Wyoming.’ And I just thought, ‘What a privilege, you never had to. You just aren’t in the minority.’”

The play isn’t so much about race; it’s about not seeing a version of yourself and what that does.

CREATIVITY

1. BELONGING

We build a respectful and empathetic culture through our active commitment to equity, diversity, inclusion and accessibility.

— NINA MCCONIGLEY, AUTHOR OF “COWBOYS AND EAST INDIANS”

2. COLLABORATION

For his part, Spangler said, “to be able to write a play set in our hometown and work with people I’ve known for decades is something I never thought I’d be able to do.”

Cowboys and East Indians is ultimately a hopeful play that’s packed with wide-ranging emotions and that subverts expectations in multiple ways. “I was surprised people cried during the New Play Summit,” McConigley said. “The play is hopeful. It asks you to look at those around you, and you don’t know the story within them. You just don’t know. I think the play surprises a lot of people. Watching the audience was so interesting, you can visibly see the audience stressed, then relieved, then a little bit confused….”

Both express gratitude to the Colorado New Play Summit and Denver Center Theatre Company. “We learned so much from that workshop,” McConigley said. “The fact that they financially supported us to write this play….” As a mother of young children and a full-time professor, she said, there’s no way she could have done it otherwise.

“I’m definitely wearing a sari on opening night. My mom, too.”

3. COMMUNITY

COWBOYS AND EAST INDIANS

JAN 16 – MAR 1 • SINGLETON THEATRE ASL Interpreted and Audio Described performance: Feb 1 at 1:30pm Stay for a Post-Show Discussion: Jan 28, Feb 12, Feb 24

We produce our best possible work together by engaging people with diverse perspectives, lived experiences and talents around our shared goals.

We cultivate open, responsive, affirming relationships and partnerships for a greater collective impact.

4. CREATIVITY

We embrace innovation and imagination in our daily work to advance our mission.

5. INTEGRITY

We act responsibly, with honesty, accountability and transparency.

6. SUSTAINABILITY

We prioritize the wellbeing of our team, our finances and the environment to ensure our thriving future.

Learn more about what drives the DCPA, and where we’re going, at denvercenter.org/plan

The North American Tour Boleyn Company of SIX. Photo by Joan Marcus.

HENRY’S EX-WIVES GET THEIR SAY (AND SING) IN SIX E XC E R P T E D F R O M A 2 02 3 A P P L AU S E A R T I C L E BY M I S H A B E R S O N

Need a refresher course on who the “six” wives of King Henry VIII were? Here’s a quick rundown: Henry’s first and longest union (two decades) was with a smart, assertive Spanish princess, Catherine of Aragon, who despite many pregnancies only produced one viable child with the monarch, christened Mary. Assuming Catherine would never produce a male heir to his throne, Henry divorced her.

The king then turned to Anne of Cleves, a sort of mail order German bride. Henry loved Thomas Holbein’s flattering portrait of her but rejected her in the flesh. Uncrowned, her marriage annulled, Anne still enjoyed a cushy life at court — and unlike poor Anne Boleyn, kept her head on.

Wife No. 2 was lovely Anne Boleyn, who also gave birth to a daughter (the future Queen Elizabeth I), but alas, no son. To be rid of her, Henry accused Anne of adultery and though historians now doubt her guilt, she was tried and executed.

On to Katherine Howard, a fun-loving young woman Henry called his “blushing rose without a thorn.” That is, until dalliances with two other men led to her own execution.

Next up? Jane Seymour. She produced a male heir, who became King Edward VI — but she died 12 days after his birth.

Catherine Parr was his final bride and reportedly a faithful nurse to the ailing monarch. (After his death she remarried, only to perish in childbirth herself soon after.)

This condensed version omits a lot of political and personal rivalry among Henry, his wives, and their relations and courtiers. But what you get from SIX is its own unique take on the women’s experiences and a big jolt of pizazz: sparkly royal mini-dresses and teeny crowns, catchy tunes and punchy lyrics as the wives (or ex-wives, they remind you) belt out solos, boogie and are each other’s backup singers.

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SIX

JAN 7 – 11, 2026 BUELL THEATRE ASL Interpreted, Audio Described and Open Captioned performance: Jan 10 at 2pm

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His commitment has put him on the road with America’s top traveling productions, including MJ the musical, TINA — The Tina Turner Musical and SIX. “Telling the stories of these extraordinary performers and showing our viewers the long hours behind the scenes and the intense effort these shows require is one of my great honors,” Thomas says. “I’m very proud to represent CBS Colorado and showcase all the incredible talent that the DCPA brings to our theatres throughout the year.”

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The Denver Post is proud to support the Denver Center for the Performing Arts, both through sponsorship of its acclaimed theatre productions as well as with grant funding through The Denver Post Community Foundation. The longstanding partnership with DCPA has given countless individuals of all ages, the opportunity to experience and develop a lifelong appreciation for the arts.

The Denver Post Community Foundation believes in giving back to the communities in which it serves and proudly supports hundreds of nonprofits’ programs and events. Support is given in many ways: through The Denver Post Community Foundation, employee volunteering, and inkind advertising.

The Denver Post Community Foundation, a recognized 501 (c)(3) nonprofit agency, raises funds through individual and corporate donations, through its unique Signature Events and Programs and through the annual holiday Season To Share campaign. The overall mission is to improve and enrich the lives of those in the Denver community through support of programs that benefit arts and culture; children and youth; education and literacy; and the provision of basic human services. To date, more than $13,250,000 has been raised and distributed.

• Signature Events and Programs These well-established events and programs have become staples in the community. They offer partners, participants and volunteers something unique each year. They include: Pen & Podium Literary Lecture Series, Passport To The Arts, and the Colorado State Spelling Bee.

• The Denver Post Season To Share The Denver Post Season To Share holiday fundraising campaign supports metro Denver nonprofit organizations that help low-income children, families, and individuals move out of poverty toward stability and self-sufficiency. Each year, grants are awarded to more than 50 deserving nonprofits with programs focused on children and youth, health and wellness, homelessness, and hunger. These grants are made possible through the generosity of Denver Post readers, the broader community, corporate donors, and our valued partners.

Donations are matched and accepted year-round. To learn more, visit seasontoshare.com .

Together We Can Make A Difference denverpostcommunity.com

The Denver Post Pen & Podium Series

The Denver Post Season To Share Pulitzer Prize-Winning Author, Percival Everett

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SET THE STAGE FOR A PERFECT DAY From intimate vows to grand celebrations, our theatrically trained designers will set the stage for your perfect day. With personalized care every step of the way, we’re here to ensure your “I do” gets the standing ovation it deserves.

START PLANNING denvercenter.org/venue-rentals

PROUD SPONSOR OF WATER FOR ELEPHANTS

T [The arts] inform, inspire, and uplift while bringing the community together.

Helen Krushinski as Marlena. Photo by Matthew Murphy for MurphyMade.

— ANDY AYE, CO/AZ/NV/NM MARKET LEADER, GIS

The arts are a significant part of making Denver an amazing place to live and work. U.S. Bank believes in the power of play, which includes the arts, because it brings joy, encourages creativity, teaches problem-solving skills, and builds emotional learning. That is why U.S. Bank is a long-time supporter of the magnificent programs and spectacular performances at the Denver Center for the Performing Arts (DCPA).

The arts educate, promote understanding, broaden our perspectives, and enable communities to share rich cultural experiences. Denver is fortunate to have a thriving arts community, which is home to some of the nation’s finest theatres, museums, and artists.

“We’re proud to serve the DCPA because it provides the best in live entertainment, in addition to education for all ages through the art of theatre,” said Andy Aye, Global Industrials and Services Market Leader for Colorado, Arizona, Nevada and New Mexico. “We know the critical role that the arts play in our society. They inform, inspire and uplift while bringing the community together.”

In 2023, the U.S. Bank Foundation committed $96.4 million in corporate contributions to nonprofit organizations across the entire enterprise, $3.1 million of which was invested to Colorado nonprofits. Those contributions had an emphasis on community development diversity and inclusion, financial education, and the environment. Additionally, its employees volunteered more than 360,000 hours, demonstrating that employee engagement is a major component of its community success.

“The DCPA brings us together to appreciate our diversity of thought, perspective, and talent,” said Aye. “I am always amazed at how much we share when we all laugh or gasp during a key moment in a performance. It is a sense of participation and belonging that strengthens our community. Supporting the DCPA is making an investment in ourselves, the arts, and the place we call home.”

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DCPA TEAM DCPA TEAM

DCPA EVENT SERVICES OFF-CENTER Scene Shop Janice Sinden............................President & CEO Tara Miller............................................Event Sales & Charlie Miller.....Executive Director & Curator Eric Moore................................Technical Director Operations Director Albert “Stub” Allison, Robert L. Orzolek, Donna Hendricks.............Executive Assistant, Josh Prues ......Associate Technical Directors President & CEO Brook Nichols ......... Event Technical Director OPERATIONS Jeremy Banthoff, Tyler D. Clark, Julie Schumaker.......................................Manager, Aidan Gagner ..............................Video Engineer Kyle Scoggins......................Scenic Technicians Board Relations Michael Harris ........................Lighting Designer Sarah Arzberger, Stori Heleen-O’Foley..............Event Technical Danielle Freeman .................................. Managers Wynn Pastor.......................Scenic Technician & ACCOUNTING & FINANCE Purchasing Agent Manager Aaron Chavez......................................................Lead Jane Williams....................................................CFAO Shane Hotle..................................Audio Engineer Louis Fernandez III .....Lead Scenic Technician Sara Brandenburg.....................................Director, Kris Lawan, Ruben Cruz, Jordan Latouche......Engineers Brian “Marco” Markiewicz.....Lead Carpenter Accounting Services Savannah Singleton.................Event Captains Simone Gordon.......................................... Director Jennifer Jeffrey...........................................Director, Danielle Levine, Blair Quiring.......Senior Sales Kyle Greufe......................................Senior Analyst Scenic Design Lisa Orzolek.................................................. Director Financial Planning & Analysis & Event Managers Maria Herwagen...........................Junior Analyst Nicholas Renaud......................................Assistant Kristina Monge............ Associate Accountant Jacob Noon, Phil Rohrbach......Sales & Event Brandon LeMarr..................Associate Director Rachel Rodriguez........Manager, Accounting Managers Alison Orthel, Tara Perticone .............Analysts Sound Design & Technology Jennifer Siemers ............Director, Accounting Benjamin Peitzer.......... Event Technical Lead Joseph Reecher ....................... Senior Engineer Alex Billman............................................Supervisor Meagan Holdeman+, Kaden Richter.............................Audio Engineer BROADWAY & CABARET PEOPLE & CULTURE Timothy Schoeberl+, John Ekeberg..........................Executive Director INFORMATION TECHNOLOGY Laura Maresca..................................................CPCO Dimitri Soto+.........................................Technicians Lisa Roebuck..................................Vice President Administration Stage Management Equity & Organization Culture Ashley Brown.........................Business Manager For security purposes, the IT team has been omitted. Seán Kroll .................................................... Specialist Anne Jude................................................Supervisor Alicia Bruce...............................General Manager MARKETING & SALES Chandra R.M. Anthenill, Wayne Breyer, Human Resources Lisa Prater ..........................Operations Manager Corin Davidson, Kristin Dwyer, Angela Lakin...................................Vice President Brian Carter................Senior Business Partner Elizabeth Ann Goodman, Harper Hadley, Whitney Testa....................Executive Assistant, Garner Galleria Theatre Andrew Guilder.......Recruiter & HR Generalist Sage Hughes, Nick Mason, Melissa J. Marketing & Broadway Abel Becerra.............................Technical Director Michaela Johnson ............Mailroom Assistant Michelson, Christine Rose Moore, Jason Begin+, Communications Paul Johnson..............................................Manager, Nick Nyquist, Brooke Redler, Anna Hookana+....................Core Stagehands Payroll & Compliance Malia Stoner................................Stage Managers Suzanne Yoe................................................. Director Jocelyn Martinez.....................Business Partner Sage Goetsch, Dylan Hudson, Heidi Bosk, DEVELOPMENT Hannah Iverson, Casey Pitts......Apprentices Jamie Clements............................Vice President Brittany Gutierrez............ Associate Directors Kinsey Scholl................... Manager, Operations Wardrobe Sarah Darlene ............................................Manager, Todd Metcalf.................................Media Producer THEATRE COMPANY Heidi Echtenkamp..............................Supervisor Grants & Reports Creative Services Administration Robin Appleton^, Amber Krimbel^, Julia Dunn .....Manager, Donor Engagement Kyle Malone................................................... Director Charles Varin ........................Managing Director Lauren LaCasse^, Lisa Parsons Wagner^, & Legacy Giving Sofia Contreras, Emily Diaz .................................Business Admin./ Nicole Watts^, Kami Williams^.........Dressers Kara Erickson-Stiemke........Manager, Annual Lucas Kreitler........................Graphic Designers Asst. Company Manager Giving & Stewardship Paul Koob..................Senior Graphic Designer Wigs Emily Kettlewell...............Director, Operations Noelle Norris........................ Traffic Coordinator Jessica Eckenrod..........................Line Producer Diana Ben-Kiki.......................................Supervisor Alex Koszewski..................Company Manager Caitie Maxwell....Senior Director, Major Gifts Ann Marshall.............................General Manager Abby Schmidt^, Marc Ravenhill .............................................Director, Digital Marisa Sorce^................. Hair/Wig Technicians Donor Relations Michael Ryan Leuthner.......................... Director Artistic Sarah Smith..........................................Coordinator Erin Bunyard..............................Senior Strategist Chris Coleman............................Artistic Director VENUE OPERATIONS Megan Stewart....................Associate Director, Harper Anne Finch........Manager, Social Media Grady Soapes......................Artistic Producer & Glen Lucero.....................................Vice President Special Events Hannah Selwyn..............................Manager, Email Casting Director Kristi Horvath............................................... Director Sergio von Kretschmann........Manager, Web Leean Kim Torske......................................Director, Merry Davis ............................Financial Manager EDUCATION & Literary Programs Jane Deegan................................... Administrator COMMUNITY ENGAGEMENT Insight & Strategy Madison Cook-Hines..........Literary Assistant Samantha Egle..........................................Manager, Allison Watrous ...................Executive Director Emily Kent...................................................... Director Event Operations Stuart Barr ...............................Technical Director Dan McNulty...................................................Analyst Costume Crafts Leslie Channell ............................................Director, Marketing Kevin Copenhaver..................................... Director Facilities Business Operations Craig Smith.................................................... Director Claire Graves................................................. Director Chris Campbell..........................................Assistant Lyndsay Corbett....................Teaching Artist & Dwight Barela, Mark Dill, Bryan Faciane, Emily Lozow..........................Associate Director Costume Shop Manager, Bobby G John Howard, Iver Johnson............Engineers Maddie Lamb, Emmy VanLangevelde, Janet MacLeod........Director/Design Associate María Corral...................................................Director, Saleem As-Saboor, Adriana Fuentes, Community Engagement Julie Whelan, ........................................... Managers Meghan Anderson Doyle......Design Associate Carmen Molina, Judith Primero Molina, Heather Curran.......................Teaching Artist & Mikayla Woods...................................Coordinator Katarina Kosmopoulos.....................First Hand Juan Loya Molina, Blanca Primero.....................................Custodians Ingrid Ludeke, Manager, Playwriting Ticketing & Audience Services Elliot Davis ...........................Evening Registrar & Jennifer Lopez ............................................ Director Carolyn Plemitscher .................................Drapers Michael Kimbrough.....Manager, Engineering Office Coordinator Jessica Alverson*, Zeah Edmonds*, Oscar Fraire.......................... Manager, Custodial House Crew Rachel Ducat..................Executive Assistant & Lauren Estes*, Amanda Foust, Jen Gray*, Douglas Taylor+....................................Supervisor Brian McClain..................Supervisor, Custodial Business Manager Noah Jungferman*, Oliver Knight*, Reagan James Berman+, Will King, Patron Experience Rya Dyes...................................................Registrar & Luchte, Brett O’Neill*, Claudia Ruiz*, Dave Mazzeno+, Kyle Moore+, Heather Kaylyn Kriaski.............................................Manager, On-Site Class Manager Holly Stigen*, Asheala Tasker*, Sparling+, Matt Wagner+................Stagehands Patron Experience Gavin Juckette....Teaching Artist & Manager, Rob Warner*....................................Ticket Agents Joseph Price+, Kelley Reznik+....Technicians LeiLani Lynch, Aaron McMullen, TYA Engagement & Music Kirsten Anderson*, Scott Lix*, Stacy Norwood, Wendy Quintana, Timothy McCracken.................Head of Acting Liz Sieroslawski*, Lighting Design Kelci Rigsby, Valerie Schaefer, Rick Mireles .................................................Manager, Greg Swan* .......................Subscription Agents Charles MacLeod....................................... Director Ashli Townsend....................Managers on Duty Community Engagement Jon Collins......................Manager, Subscription Connor Baker+............ Production Electrician Kelly Breuer, Nora Caley, Robin Lander, David Saphier.......Teaching Artist & Manager, D.J. Dennis*, Edmund Gurule*, Lily Bradford...............................................Assistant Melanie Mason, Barbara Pooler, In-School Programming Hayley Solano*, Andrew Sullivan*, Ayden Smith............................. House Managers Charlotte Talbert.......................................Librarian Bronwen VanOrdstrand*, Alfonso Vazquez*, Paint Shop Rachel Taylor......Teaching Artist & Manager, Max McCord*.................. Counter/Show Leads Kristin Hamer MacFarlane .....................Charge Safety & Security Scenic Artist Quentin Crump........................................... Director Literary Engagement & Resiliency Billy Dutton............................Associate Director, Operations Melanie Rentschler, Timothy Allen, Justin Walvoord.....................Teaching Artist & Sasha Seaman.................................Scenic Artists Jodi Benavides............Lead Security Officers Manager, Shakespeare in the Parking Lot Katie Davis, Claire Hayes, David Bright, Ariana Cuevas, Samuel Wood.................Director, Education & Ella Mann, Production Curriculum Development Lane Randall.................. Managers, Box Office Jeff Gifford.................................................... Director Ethan Kemberlin, Jack Leatherwood, Chris Leech.................VIP Ticketing Associate Ian Nelson, Ashley Skillman, Katie Spanos ........................Associate Director, Julie Brou.................Administrative Assistant/ Zach Stemley, Pamela Winston, Office Manager Tori Witherspoon..............Security Specialists Subscriber Services Matthew Campbell.......Production Manager Group Sales Peggy Carey.................... Production Manager Jessica Bergin.......................Associate Director Prop Shop Elias Lopez, Valery Owen.........Associates, Group Sales & Meghan Markiewicz...........................Supervisor Education Sara Pugh..........................Associate Supervisor * Member, I.A.T.S.E. Local B-7 + Member, I.A.T.S.E. Local 7 Bennet Goldberg, Ashley Lawler ......Artisans ^ Member, I.A.T.S.E. Local 719 Adena Rice.....................................Prop Carpenter Staff list current through August 25, 2025

DENVER LANGUAGE SCHOOL PROUD CORPORATE MEMBER OF THE DENVER CENTER FOR THE PERFORMING ARTS

D

Denver Language School is the only Denver Public School K-8 charter school offering Spanish and Mandarin immersion (K-8) and French (6-8). DLS is committed to providing students with a diverse and globally oriented education, encouraging them to be curious, critical thinkers, and preparing them for the workforce of tomorrow.

Its unique model enhances problem-solving and critical thinking; strengthens cognitive ability, flexibility, and creativity; and builds cultural understanding. The curriculum fosters empathy, adaptability, and open-mindedness, and DLS’s holistic approach combines academic rigor.

DLS is proud to be the number one charter school in Denver on the state School Performance Framework and 28th of 1,825 schools in Colorado, placing DLS in the top 1.5% of all Colorado schools.

“Choosing Denver Language School has been one of the best decisions we’ve made for our children,” said Monica W., parent of DLS students. “Not only are they becoming fluent in another language, but they are also developing a deep appreciation for different cultures.

We see their confidence, curiosity, and problem-solving skills growing every day, and we know they are being prepared to thrive in a global world.”

The Denver Center for the Performing Arts (DCPA) provides Denver with access to world-class theatrical performances and arts programming. These experiences expand creativity, encourage selfexpression, and foster cultural awareness, offering opportunities to engage with the arts in meaningful ways. As a Denver community member, DLS is highly invested in supporting the arts and the DCPA, working to nurture a diverse and interconnected world.

We see [our children’s] confidence, curiosity, and problem-solving skills growing every day, and we know they are being prepared to thrive in a global world.

— MONICA W. PARENT

JOIN DLS FOR A TOUR!

Visit website for dates and times at denverlanguageschool.org

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APPLAUSE • JAN – FEB 2026 • 303.893.4100 • DENVERCENTER.ORG

VIEW ALL

The Philip Glass Ensemble Performing Koyaanisqatsi

Valentine’s Day with Pink Martini

Shostakovich Piano Concerto No. 1

An Evening with Sutton Foster and Kelli O’Hara

EVENTS

JAN 31

FEB 13-14

FEB 20-22

FEB 26

COLORADOSYMPHONY.ORG | 303.623.7876

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